Extreme poses conclude the three-frame series. In the foreground are flourishes in the angle of the wrist, open jaw and twisted foot of the follow and the head angle and palms of his flyer. In the background, the bent knee of the follow and extreme arched spine and poise of the head of the flyer work for a portrait of bounding apogee.
Shading is used to give the imagery depth; not only to separate the foreground and background couples from each other, but also within the partners' proximity to each other. In the front, the head and arms of the flyer dip into a shadow behind her body; her follow's lower body rests deeper than his upper. To the rear, the flyer is deeper into the space above her follow giving recess into the mists which she is swung.
Dashes of white give a sense of glistening and wetness.
Blurred arcs in the lower part of the composition complement the kinetic depths and heights of the dancers. The arcs work to complement and combine their action evoking mist that swirls and wraps about, dipping and flipping with the action as it moves through and into the frame.
The framing tombstones from the prior frames are gone - either as a result of the couples moving to different parts of the grounds or the framing stones themselves having been swept away to other planes of existence in the night's dewy air. Indeed, in looking back at the forms of the tombstones and branches at the edges of the illustrations the three frame sequence may very well have been four frames starting at frame 15:
The silhouettes to the right for all four frames are subtly consistent with each other and the R-I-P tombstone in 15 could be suggested to be fading away at the bottom of frame 16; all to join the misty world through which the figures are passing, dipping and flipping.